• ,*•.  ■ V-,  < 

) c. hi  1 liter)  mirier  the  Auspices  of 

I he  Copley  Society  of  Boston 

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1 ice  J^IV  ( )ems 


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This  Collection  believed  to  be  the  finest  and 
most  complete  ever  assembled,  will  be  offered 
at  auction  at  Copley  Hall,  Monday,  January 
1 8th,  at  2.30  P.M. 


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An 


Historical  Sketch 

of 

Nishiki  and  Kinran  Brocades 


With  a Catalog 

Of  One  Hundred  and  Twenty  Rare 
Specimens  dating  from  iyoo  to 
1812  A.D. , collected  by 


Shojiro  Nomura 


To  Illustrate  the  Historical  Development 
and  Varieties  of  Weave  and  Design 


Boston,  U.  S.  A. 

1914 


Prefatory  Note 

THE  growth  of  Western  appreciation  for  the  subtle  beauty  of  Chinese 
and  Japanese  art  has  been  slow  and  gradual.  Beginning  with 
admiration  for  the  handicrafts,  — the  porcelains,  the  lacquers,  the 
metal  work,  — we  have,  as  it  were,  undergone  a graded  course  in  which 
there  has  been  step  by  step  advancement  in  our  aesthetic  comprehension. 
But  not  until  recently  have  the  major  arts,  — painting,  sculpture  and 
architecture  won  anything  like  proper  recognition  even  with  the  most  ap- 
preciative. Enthusiasm  for  the  beauty  of  a Chinese  vase,  the  workmanship 
of  a Japanese  tsuba  had  already  arrived  at  a time  when  Oriental  sculpture 
was  looked  upon  as  barbaric,  and  Chinese  and  Japanese  architecture  of 
the  best  periods  as  merely  bizarre. 

Notable  as  has  been  our  progress  in  the  last  decade,  it  is  yet  far  from 
complete.  There  remains  at  least  one  art  in  which  China  and  Japan 
perhaps  surpass  all  other  countries,  and  in  which  during  the  fifteenth 
and  sixteenth  centuries  they  excelled  the  accomplishment  of  all  time. 
And  this  is  the  textile  art.  The  looms  of  China  and  Japan  to-day  produce 
fabrics  that  delight  our  Western  eye,  and  the  gorgeously  beautiful  modern 
embroideries  of  China  are  everywhere  well  known.  But  the  wonderful 
Kinrans  and  Nishikis  of  the  fifteenth  and  sixteenth  centuries  have  as  yet 
hardly  been  seen  in  the  West. 

This  historical  sketch  of  Kinran  and  Nishiki  brocades  is  the  first  to 
appear  in  print  in  any  European  language  and  represents  the  study  and 
research  of  Shojiro  Nomura  during  the  last  fifteen  years  among  temple 
treasures  and  the  descendants  of  the  Nishijin  workers.  In  that  time  thou- 
sands of  specimens  have  passed  under  his  eye,  many  of  the  best  of  which 
go  to  make  up  this  unique  collection.  Probably  never  before  has  there 
been  brought  together  a collection  that  gives  so  adequate  a conception  of 
their  development,  their  beauty,  or  their  variety  of  design  and  weave. 

In  repeated  visits  to  Kyoto  during  the  past  ten  years,  the  writer  has 
learned  much  from  Mr.  Nomura  of  the  arts  and  crafts  of  Japan  and 
imbibed  something  of  his  enthusiasm  for  them.  Now  that  Mr.  Nomura 
visits  America,  it  has  been  a pleasure  to  assist  him  in  presenting  this 
history  and  catalog  in  English. 

PORTER  E.  SARGENT. 

Boston 

November  27,  1914. 


3 


Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/historicalsketchOOnomu 


History 

of 

Nishiki  and  Kinran 


Historical  Sketch  of 
Nishiki  and  Kinran  Brocades 


NISHIKI  is  a term  applied  to  one  of  the  earliest  forms  of  brocade 
woven  in  Japan.  They  were  always  woven  on  a hand  loom  with 
silk  threads  of  blue,  red,  yellow,  purple  and  many  other  colors,  and 
were  always  of  rich  and  beautiful  design.  The  word  “ Nishiki,”  in 
fact,  means  “beautiful  combinations  of  colors,”  so  that  the  color  prints 
produced  in  the  seventeenth  and  eighteenth  centuries  were  called 
“Nishiki-ye.” 

Nishiki  were  first  introduced  in  Japan  in  the  year  238  A.D.  The 
Empress  Jingo,  the  year  following  her  triumphal  return  from  San-Kwang, 
Korea,  sent  an  embassy  to  the  Chinese  Emperor  Ming-Ti  of  the  Wei 
dynasty.  Among  the  presents  which  he  sent  the  Empress  were  five  rolls 
of  beautiful  Nishiki  with  the  design  of  a dragon  woven  on  a crimson 
ground. 

But  it  was  more  than  two  centuries  before  Nishiki  were  woven  in 
Japan.  In  463  A.D.  the  Emperor  Yu-ryaku,  determining  to  establish  a 
loom  in  Japan,  sent  an  embassy  to  Korea  accompanied  by  Kwaninchiri, 
a Korean  weaver  who  had  lived  in  Japan,  to  study  the  Korean  weaving. 
The  head  of  the  embassy  died  before  the  return,  but  Kwaninchiri  returned 
successfully  with  the  skilful  Korean  weaver,  Jo-an-na  of  Kudara,  who 
established  a loom  at  Momohara  in  the  province  of  Kawachi.  Here, 
during  his  lifetime,  he  wove  many  beautiful  Nishiki  which  were  called, 
“ Kara-Nishiki”  (Korean  Nishiki)  or  “ Kawachi-Nishiki,”  from  the  prov- 
ince in  which  they  were  woven.  The  title  “ Nishikibe-no-muraji”  (family 
producing  the  Nishiki  brocade)  was  conferred  upon  him.  His  family 
became  famous  as  weavers,  and  since  that  time  the  town  where  their  loom 
was  established  has  been  known  as  “ Nishikibe-no-go.” 

In  the  two  centuries  following,  the  art  of  weaving  Nishiki  underwent 
great  improvement  at  Nishikibe-no-go.  Among  the  beautiful  brocades 
which  were  produced  some  received  poetical  names  as  “Taihakuzan- 


7 


Nishiki  (Great  White  Mountain  Brocade),  "Shohakuzan-Nishiki”  (Little 
White  Mountain  Brocade).  Other  famous  brocades  here  woven  were 
named  from  the  design,  as  the  “ Kurumagata-Nishiki,”  which  had  a 
Kuruma  pattern;  "Hishigata-Nishiki”  having  a lozenge  design;  “Kirin- 
Nishiki”  having  the  Kirin  design.  The  Kirin  is  a fabulous,  horned 
monster  always  represented  in  the  midst  of  flames.  So  wonderful  were 
the  productions  of  this  loom  that  the  Chinese  called  them  " Kami-Nishiki” 
(mystery  brocades). 

At  Nara,  the  capital,  the  weaving  of  Nishiki  was  established  by  the 
Emperor  Kotoku  in  the  first  year  of  Tai-Kwa,  645  A.D.  Here  the  looms 
were  under  the  direct  imperial  management,  and  the  department  of  weav- 
ing was  known  as  “ Oribe-no-tsukasa.”  One  of  the  most  famous  of  the 
Nishiki  produced  by  this  loom  during  this  period  was  “Ungen-Nishiki” 
(Sunset  Clouds),  which  was  copied  from  a specimen  of  "Kasumi-Nishiki” 
(Valley  Mist)  presented  to  the  Emperor  Ten-mu  by  a Korean  minister  in 
the  tenth  year  of  Haku-ho  era,  681  A.D.  This  was  chiefly  used  for  the 
borders  of  Tatami  (floor  mats)  and  the  edges  of  bamboo  curtains. 

The  Emperor  Mon-bu,  in  the  first  year  of  Tai-ho  era,  701  A.D., 
limited  to  one  hundred  and  ten  the  families  of  weavers  of  the  Nishikibe- 
no-go  (as  the  imperial  Nishiki  weaving  establishment  was  called),  but  so 
small  was  the  demand  that  only  about  one-tenth  of  these  were  actually 
occupied  in  the  industry. 

The  management  of  the  Nishiki  weavers  remained  for  centuries  in 
charge  of  the  Oribe-no-tsukasa.  In  the  first  year  of  the  Kei-un  era, 
704  A.D.,  we  find  that  there  was  woven  at  the  command  of  the  Empress 
Gen-mei,  for  the  great  shrine  of  the  imperial  ancestors  at  Ise  (Ise-Dai- 
Jin-gu),  the  famous  Kwashi-Nishiki,  the  poetical  name  of  which  signifies 
"nest  of  Ho-wo  birds.”  The  Empress  Gen-mei  was  deeply  interested  in 
the  weaving  industry,  and  by  her  patronage  gave  a great  impetus  to  the 
weaving  of  Nishiki  as  well  as  other  textiles.  In  the  fourth  year  of  the 
Wa-do  era,  71 1 A.D.,  masters  of  Nishiki  weaving  were  sent  from  the  Oribe- 
no-tsukasa  to  the  surrounding  provinces  of  central  Japan,  where  raw  silk 
was  abundant  and  of  excellent  quality.  In  this  way  looms  were  established 
in  each  of  the  following  provinces:  Ise,  Owari,  Mi-Kawa,  Suru-ga,  I-dzu, 
O-mi,  Yechi-jen,  Tan-ba,  Taji-ma,  Ina-ba,  Ho-Ki,  Hari-ma,  Bi-zen,  Bit- 
chu,  Bin-go,  A-ki,  Ki-i,  A-wa,  I-yo,  Sa-nuki,  Idzu-mo.  In  the  latter  part 
of  this  period  there  was  at  Kashiwabara,  Yamato  province,  a most  skilful 
and  celebrated  weaver  of  Nishiki  named  Kuratsukuri-no-Mashin.  During 


8 


1. 

2. 
3* 


4- 

5- 

6. 


Silk-Worm  Culture,  Spinning  and  Weaving 

From  a Rare  Set  of  12  Prints  by  Utamaro 

The  order , as  in  all  Oriental  countries , z'r from  right  to  left 


Scraping  the  silk-worm  eggs  off  of  the  paper,  upon  which  they  have  been  deposited, 
into  the  box  for  hatching.  This  is  done  with  a feather  so  as  not  to  injure  the  eggs. 
Filling  baskets  with  mulberry  leaves  to  carry  to  the  caterpillars. 

Chopping  up  the  mulberry  leaves  and  feeding  them  to  the  young  caterpillars. 


654 

Removing  with  a feather  the  dried  leaves  from  the  trays.  The  method  of  shelving 
the  trays  on  racks  may  be  seen  in  the  background  of  the  print. 

Feeding  whole  mulberry  leaves  to  the  nearly  full-grown  caterpillars. 

Examining  trays  of  freshly  spun  cocoons. 


9 


his  lifetime  he  was  engaged  by  the  Empress  Gen-mei  in  weaving  Nishiki 
to  her  order,  and  as  a mark  of  honor  was  appointed  Kashiwabara-no- 
Muranushi,  chief  of  Kashiwabara. 

In  794  A.D.,  the  thirteenth  year  of  the  Yen-ryaku  era,  the  Emperor 
Kan-mu  moved  his  capital  from  Nara  to  Kyoto,  which  was  then  known  as 
Hei-an-Jo.  In  the  following  eleven  centuries  Kyoto  continued  to  be  not 
only  the  capital  of  Japan  but  the  center  of  all  art  production.  The  Emperor 
assigned  the  Oribe-no-tsukasa  a quarter  in  the  northwestern  part  of  the 
city  near  the  Uzumasa  Temple.  Its  area  was  restricted  to  two  hundred 
by  four  hundred  feet.  Here  the  weaving  of  Nishiki  continued  under 
imperial  patronage  and  every  encouragement  was  offered  to  produce  more 
beautiful  examples  of  Nishiki. 

The  Emperor  Dai-go,  in  the  fifth  year  of  the  Yen-gi  era,  905  A.D., 
invited  contributions  of  Nishiki  from  the  surrounding  provinces  of  Ise, 

0- wari,  Yechi-jen,  Tan-ba,  Tan-go,  Hari-ma,  A-ki,  Ki-i,  A-wa,  Sa-nuki  and 

1- yo,  where  the  weaving  industry  had  prospered  since  the  Empress  Gen- 
mei  had  sent  her  official  teachers  to  these  districts.  The  Nishiki  of  this 
period  were  woven  in  double  patterns,  but  were  still  severe  in  simplicity 
of  design. 

There  followed  in  the  eras  of  Sho-hei  and  Ten-kei,  931  to  946  A.D., 
fierce  political  struggles  in  which  all  the  industries  of  Japan  necessarily 
suffered,  the  Oribe-no-tsukasa  continuing  to  produce  Nishiki  in  only  very 
small  quantities,  while  the  industry  in  the  provinces  died  out.  As  a con- 
sequence, in  the  following  period  there  was  a large  importation  of  Nishiki 
and  other  costly  brocades  from  China,  and  it  soon  became  the  fashion  for 
all  the  nobles  to  wear  Chinese  brocades,  which  were  called  “Kara-ori- 
Nishiki,”  while  the  domestic  specimens  were  called  “ Yamato-Nishiki.” 

In  the  eleventh  century  there  was  first  brought  to  Japan  from  China 
by  returning  Japanese  students  a new  form  of  brocade,  the  Kinran.  This 
was  woven  in  characteristically  Chinese  patterns,  with  flat  gold  threads  on 
a silk  ground,  and  soon  came  to  be  much  used  by  the  Buddhist  priests  and 
nobles  (Kuge)  for  vestments.  In  the  Kinran,  the  flat  gold  threads  con- 
sist of  a very  fine  tough  paper  made  from  the  bark  of  the  Ko-zu  tree. 
Sheets  of  this  Ko-zu  paper  were  spread  with  a thin  preparation  of  lacquer 
and  then  with  gold  leaf,  which  was  burnished  on  by  hand  and  later  cut 
into  strips  less  than  one-sixteenth  of  an  inch  wide.  Thus  was  made  the' 
gold  thread  which  was  woven  into  the  Kinran  and  which  formed  its 
characteristic  feature. 


10 


The  Method  of  Silk  Weaving  — Continued 


987 

7.  The  moths  depositing  eggs  upon  paper. 

8.  The  moths  flying  away  after  the  eggs  have  been  deposited. 

9.  Boiling  the  cocoons  in  hot  water  preparatory  to  unwinding  and  catching  the  threads 

of  several  of  the  cocoons  to  twist  into  a thread  of  silk. 


12  11  10 

10.  Drying  the  coarse  outer  winding  of  the  cocoons,  which  is  much  used  for  silk  wadding. 

11-12.  Spinning,  carding  and  weaving.  The  woman  at  the  spinning-wheel  in  the  back- 
ground is  unwinding  the  silk  from  the  cocoons  in  the  tub  of  hot  water.  The 
woman  seated  in  the  foreground  is  carding  the  silk  thread.  At  the  Japanese  loom, 
where  silk  is  being  woven,  a woman  is  throwing  the  shuttle. 


11 


In  1315,  the  fourth  year  of  the  Sho-wa  era,  a great  Shinto  temple, 
Hiyoshi-Jinsha,  was  built  at  Sakamoto,  in  the  province  of  O-mi,  on  Lake 
Biwa,  by  order  of  the  Emperor  Hana-sono.  In  its  execution  the  greatest 
masters  of  all  the  arts  were  employed.  The  Nishiki  for  its  decoration  were 
woven  by  the  following  celebrated  weavers  of  the  time:  Kyo-gan,  Mune- 
Kiyo,  Hiro-tsugu,  and  the  double  pattern  brocade  was  woven  by  Mune- 
nobu.  All  of  these  weavers  had  their  looms  in  Kyoto.  Later  in  this  same 
period,  Nishiki  weaving  became  almost  a lost  art,  but  occasionally  some 
fine  brocades  were  executed  in  the  old  style  by  special  order  of  the  Mikado 
as  contributions  to  the  great  Ise  shrine. 

During  the  fourteenth  century  a severe  war  between  the  two  imperial 
dynasties  of  the  north  and  south  devastated  the  country  for  fifty-six  years, 
and  it  was  only  when,  by  the  victory  of  the  Northern  Dynasty,  Yoshimitsu 
of  the  Ashikaga  family  became  Shogun  that  a general  revival  of  the  arts  of 
peace  followed.  But  as  the  imported  Chinese  brocades  were  then  so  popular 
this  did  not  extend  to  the  textile  art. 

The  Ashikaga  Shogun  Yoshimasa  (1444-1473),  a grandson  of 
Yoshimitsu,  was  the  greatest  patron  of  art  during  this  Japanese  Renais- 
sance, which  drew  much  of  its  inspiration  from  the  Sung  art  of  China  and 
the  high  ideals  of  Zen  Buddhism.  At  his  retreat  in  the  monastery  of  Gin- 
kakuji,  Yoshimasa  surrounded  himself  with  the  famous  artists  of  the 
time,  Sesshu,  and  So-ami.  He  was  a celebrated  “Chajin,”  or  master  of 
the  tea  ceremony,  a keen  collector  of  the  fine  arts,  and  an  especial  lover  of 
Chinese  art.  From  his  example,  the  nobles,  too,  acquired  a love  for  art 
and  encouraged  its  importation.  Fragments  of  the  beautiful  and  rich 
brocades  imported  from  China  during  the  fourteenth  and  fifteenth  cen- 
turies are  still  preserved  in  the  temples  of  Nara  and  Kyoto  with  religious 
care. 

The  specimens  of  Kinran  imported  from  China  about  the  time  of  the 
Bun-mei  era,  1469-1488  A.D.,  are  called  “Ko-Kinran”  (Old  Kinran),  and 
at  a later  period  were  very  highly  valued  (Nos.  1-8).*  This  is  well  illus- 
trated in  a story  told  by  Saikaku,  who  died  in  the  sixteenth  year  of  Gen- 
roku  era,  1703  A.D.  He  tells  how  a small  merchant  named  Kikuya,'  in 
order  to  obtain  some  of  these  rare  Ko-Kinran  which  had  been  used  as 
shrine  ornaments  in  a temple  until  they  had  become  very  dirty  and 
tattered,  scraped  acquaintance  with  a priest  and  induced  him  to  exchange 
the  old  brocades  for  some  new  Nishiki  of  brighter  colors,  with  which  the 

* All  numbers  refer  to  the  examples  in  this  collection. 


I 


2 


3 


Four  Types  of  Kinran  Karahana  Design 


4 


1.  Botan  (peony)  Karahana,  known  as  O-dzuru  (No.  26). 

2.  Botan  (peony)  Karahana,  known  as  Nicho-dzuru  (Nos.  11,  21)  Anraku-an. 

Date:  ca.  1550. 

3.  Botan  (peony)  Karahana,  known  as  Ko-dzuru  (No.  19). 

4.  Nanban  (East  Indian)  Karahana  (Nos.  105,  106). 


J3 


priest  was  very  much  delighted.  Then,  Kikuya  sold  the  old  specimens  for 
ten  times  more  than  he  had  spent  in  thus  getting  them  by  trickery.  The 
specimens  which  he  obtained  were  the  Ko-dzuru  (No.  19)  and  Hana-usagi. 

Among  the  more  famous  varieties  of  these  Chinese  Ko-Kinran,  the 
names  of  which  have  been  preserved  in  temple  records  as  well  as  from 
rare  specimens,  some  received  their  name  from  the  pattern  or  design. 
Among  these  are  the  Ryu-Kwa  (dragon  in  the  midst  of  flame),  Jo-Ryu 
(conventionalized  dragon),  Kensaki-Ryu  (dragon  twined  about  a spear), 
Kaku-Kirin  (a  fabulous  horned  monster  in  a square),  Hana-Kirin  (Kirin 
and  flower),  Kei-To  (flower  pattern),  Nami-Sen  (coin  pattern  with  waves). 
Still  other  varieties  are  known  by  the  name  of  the  temples  for  which  they 
were  especially  made,  as  Dai-To,  Cho-Raku-Ju,  Yei-Kwando,  Hongan-Ji, 
(No.  9),  Ko-Dai-Ji,  Yen-Kaku-Ji.  Again  other  varieties  are  known  by 
the  name  of  the  family  of  Kuge  or  nobles  for  whom  manufactured,  as 
Kino-Shita,  Ton-Da,  Waku-Da,  Tsu-Tsui,  O-Saka,  Sado,  the  latter  being 
also  called  Hana-Usagi,  which  refers  to  the  design  of  a rabbit  under  a 
flower  arch.  Ni-Nin-Shidzuka  and  Kon-Paru  was  a variety  used  in  the 
No  drama  and  named  for  a famous  family  of  No  dancers,  while  Higashi  - 
Yama  was  named  for  one  of  the  Ashikaga  Shoguns.  Saga-Giri,  with  the 
Paulownia  pattern  (Kiri),  was  especially  woven  for  the  Saga  family,  while 
O-Uchi-Giri  had  a similar  design  marked  for  the  Daimyo  of  O-Uchi,  as 
was  also  Yoshitaka  also  known  as  Daitoku-Ji. 

Among  other  patterns  of  the  Ko-Kinran  were  arabesques  of  peony 
flowers  and  vines.  Here  the  design  was  on  a large  scale.  This  was  known 
as  O-Dzuru  (No.  26),  and  if  the  design  was  small  Ko-Dzuru  (No.  19).  A 
double  design  was  known  as  Nicho-Dzuru  (Nos.  11,  21).  At  the  recent 
sale  in  1913  of  the  treasures  of  the  Nishi-Honganji  Temple,  Kyoto,  several 
small  specimens  of  white  Ko-Kinran  of  the  famous  Ko-dzuru  and  Nicho- 
dzuru  patterns  which  had  formed  a portion  of  a costume  of  the  twelfth 
century  of  the  Shogun  Yoritomo  were  sold  and  realized  15,000  yen 
($7,500).  In  the  fourteenth  and  fifteenth  centuries  among  the  varieties  of 
Kara-ori-Nishiki  imported  from  China  were  O-Kura-Nishiki,  named  from 
Prince  Yezo-Nishiki,  Shokko-Nishiki  (hexagon  pattern),  and  Nanking- 
Nishiki  named  from  the  city  of  its  origin.  These  were  all  woven  with 
gold  and  silk  threads  (five  or  six),  very  rich  in  tone  and  colors,  in  char- 
acteristic Ming  patterns,  such  as  large  arabesques  and  slips  of  flowers  as 
well  as  dragons  and  Ho-wo  birds.  These  Nishiki  were  especially  desired 
as  costumes  for  the  No-drama,  for  the  Sarugaku  (a  religious  dance),  for 
Kesa  (Buddhist  priest’s  robe),  for  Yogi  (bed  quilts),  and  for  treasure-bags. 


14 


77.  KARA-ORI  KESA.  (Nishi jin  Loom.) 

Pattern:  Blazon  of  the  Daimyo  of  Asano  (two  crossed  feathers),  in  gold,  entire 
ground  of  Kikko-moyo,  in  seven  colors  on  red  ground. 

Date:  Kan-yei  period  (1624-1643). 

Length,  seven  feet ; width,  three  feet  ten  inches. 


15 


Kinran  and  Nishiki  in  the  Ming  method  were  first  woven  in  Japan 
in  the  Ten-sho  era  (1573-1591),  when  a Chinese  weaver  established  looms 
at  Sakai  near  Osaka.  Here  the  Japanese  learned  the  art  of  weaving 
Kinran  and  Nishiki  and  soon  executed  very  fine  specimens,  Sakai  remaining 
the  center  of  this  industry  for  a time  (Nos.  16-21). 

When  Hideyoshi,  the  great  Taiko,  became  the  Shogun  in  1585  (Ten- 
sho  era),  he  did  not  neglect  textile  weaving  in  his  patronage  of  the  arts. 
Many  new  looms  were  established,  and  the  former  center  of  weaving  at 
Shirakumomura,  a small  village  near  Kyoto,  was  removed  to  Nishijin 
(West  Camp)  which  had  been  occupied  by  the  garrison  of  So-jen  Yamana, 
of  the  West  Camp,  against  the  Hoso-Kawa  family  of  the  East  during  the 
eleven  years  of  battle  and  struggle  of  the  Civil  War  of  the  O-jin  period, 
(1467).  Among  the  Nishijin  weavers  at  this  time  Nara  Hayato  was 
especially  celebrated,  and  executed  very  fine  brocades  in  the  Ming 
method  as  well  as  Yamato-Nishiki  in  the  archaic  style.  Another  artist, 
Tawaraya,  invented  a beautiful  brocade  called  “Kara-Ori”  (Nos.  32, 
69-80),  following  the  method  of  the  celebrated  Shokko-Nishiki,  which 
was  much  used  for  the  costumes  of  the  No-drama  as  well  as  for  ladies’ 
bed  quilts  and  priests’  robes.  Ito-Nishiki  (No.  99),  another  variety 
produced  at  this  time,  was  similar  to  the  Yamato-Nishiki,  but  without  gold 
threads.  The  designs  of  all  the  brocades  of  this  period,  nearly  all  borrowed 
from  China,  had  a symbolical  and  poetical  significance.  Again  the  tree  and 
flower  patterns,  for  example,  the  evergreen  pine  and  plum  blossom  which 
comes  early  in  the  spring  before  the  snow  is  off  the  ground,  signifies  immor- 
tality and  rejuvenescence.  Nomoto  was  the  name  of  another  artist  who 
produced  Kinran.  He  had  learned  the  art  from  the  Chinese  at  Sakai,  and 
his  beautiful  brocades  are  known  by  his  name  Nomoto-Kinran. 

During  the  fifteenth  and  sixteenth  centuries,  Kinran  continued  to  be 
imported,  and  these  are  known  as  “ To-Kinran”  (No.  7).  Many  specimens 
of  these  are  still  preserved.  The  varieties  Todai-Ji,  Nanjen-Ji,  Hon-Koku- 
Ji,  So-Ken-Ji,  Sei-Dai-Ji  are  named  for  the  temples  which  possess  them; 
Awa-Ji  for  the  name  of  a province;  Kyo-Goku  for  a prince;  Kuwa-Yama 
for  a Chajin  (a  master  of  the  tea  ceremonies).  The  varieties  of  Naka- 
Gawa,  Funa-Goshi,  Dai-Koku-Ya,  Sakata-Ya,  Sumino-Kura,  Hoso-Kawa- 
Ycda  were  named  after  families  of  Kuge  or  nobles. 

In  the  succeeding  Keicho  era,  1596-1614,  weaving  in  Japan  attained 
its  highest  development.  The  richness  of  the  artistic  patterns  has  never 
•incc  been  equaled.  Nishijin  was  the  great  center  of  the  art  and  from  its 


16 


looms  came  a great  variety  of  beautiful  textiles,  Nishiki,  Kinran,  Shuchin 
(Nos.  88-92),  Donsu  (damask),  Kara-Ori  (Nos.  93,  94)  (Chinese  woven), 
Chirimen  (silk  crepe),  Seigo  (raw  silk),  Shu-Su  (satin),  Ito-Nishiki  (Nos.  97, 
98).  The  variety  of  Anraku-An  (name  of  a priest)  is  also  called  Peking- 
Ori  (Peking  woven).  The  variety  of  Ashikaga  was  named  for  the  Shogun 
family.  O-Uchi-Bishi  is  a variety  having  a square  (Hishi)  design,  specially 
made  for  the  Daimio  Ouchi.  O-Uchi-Giri  is  a Paulownia  design  named  for 
the  same  family.  Another  brocade,  Yone-ichi,  was  used  for  the  covering 
of  tea-caddies.  Still  other  varieties  of  Kinran  of  this  period  are  named  for 
the  design  which  characterizes  them,  as  Reishi  (a  fungus  pattern),  Padonica 
(a  flower  design),  Ran  (orchid),  Ishi-datami  (checks),  Kiri  (Paulownia), 
Takara-dzukushi  (a  collection  of  treasures),  Uroko-gata  (triangular), 
Hana-no-maru  (medallion  of  flowers),  Kikko  (lozenge),  Ho-wo  Bird,  Shishi, 
Kirin,  Dragon,  Carpfish  and  Bat  were  famous  and  favorite. 

Hideyoshi  built  a magnificent  castle  at  Momoyama  near  Kyoto,  which 
was  lavishly  decorated  by  the  artists  of  the  time,  and  Japanese  art,  freed 
from  foreign  influence,  achieved  its  highest  development.  Art  of  the 
* Momoyama  period  (1594-1596)  is  gorgeous,  characterized  by  a profusion 
of  gold  and  brilliant  colors,  a striving  after  decorative  effect.  The  genius 
of  the  period  was  Kano  Yeitoku,  the  decorator  of  Momoyama  Castle  and 
painter  of  screens  of  bold  design  in  rich  colors  upon  a gold  ground.  His 
all-pervading  influence  directly  affected  the  textile  art. 

The  victories  of  Iyeyasu  resulted  in  his  becoming  Shogun  in  1603,  and 
formally  established  the  Tokugawa  Shogunate.  For  fifteen  generations  his 
descendants  remained  the  rulers  of  Japan,  maintaining  the  country  in 
peace  and  developing  the  finer  arts  during  this  Tokugawa  period.  The 
textile  industry  at  Nishijin  remained  under  the  direct  protection  of  the 
Tokugawa  government.  Kei-Sho-In,  the  mother  of  the  fourth  Shogun 
Iyetsuna,  who  ruled  from  1651  to  1680,  had  been  when  a girl  a weaver  at 
Nishijin.  When  she  became  one  of  the  great  powers  of  the  Tokugawa 
family  she  did  much  to  foster  the  Nishijin  textile  industry.  On  one  occa- 
sion, when  the  market  for  brocades  was  at  low  ebb,  she  bought  up  the  entire 
production  to  stimulate  the  industry. 

Rivalry  in  luxury  and  dress  among  the  Daimyos  and  their  retainers 
carried  the  country  to  such  extravagance  that  in  the  fifth  year  of  the 

* Momoyama  period  as  here  given  is  from  the  date  of  completion  of  Hideyoshi’s  palace  at 
Momoyama  until  its  destruction  by  earthquake. 


17 


Kwan-bun  era  (1665),  the  Shogun  Iyetsuna  limited  the  size  of  domestic 
brocades  to  fourteen  yards  in  length  and  fifteen  inches  in  width,  enough 
to  make  a kimono,  although  formerly  they  had  been  double  in  length. 

In  the  Ten-wa  era  (1681-1683)  there  was  no  importation  of  Kinran 
from  China,  the  great  improvement  in  the  art  of  weaving  at  Nishijin 
resulting  in  driving  the  Chinese  Kinrans  out  of  the  market.  The  greatest 
demand  for  brocades  was  for  ladies’  O-bi  (sash),  of  which  every  Japanese 
lady  accumulated  great  numbers,  regarding  them  as  treasures  as  are  gems 
in  Europe.  This  of  course  resulted  in  stimulating  the  industry. 

In  the  early  Tokugawa  period  it  was  the  fashion  to  wear  Kinran  O-bis 
only  two  and  a half  inches  wide  and  about  six  feet  long,  usually  with  the 
design  of  plum,  cherry  blossom  and  pine  tree,  a romantic  idea  derived  from 
Hachinoki,  a lyrical  play.  Later,  in  the  eras  of  Tei-Kyo  and  Genroku 
(1684-1704),  wider,  longer  and  stiffened  O-bis  became  fashionable.  This 
was  introduced  by  the  actor  Uyemura  Kichiya. 

In  the  Kyo-ho  era  (1716-1735),  Chinese  Nishiki  ceased  to  be  imported 
as  so  great  an  improvement  had  been  made  in  the  art  of  weaving  them  in 
Japan  since  the  first  looms  were  established  at  Sakai,  a century  and  a half 
before. 

Tsuzure  (tapestries)  (Nos.  116-120)  deserve  mention  here.  These  are 
not  woven  on  a loom  as  is  the  case  with  brocades.  The  warp  is  stretched 
upon  a frame  and  the  woof  is  woven-in  entirely  by  hand.  This  art  was 
brought  from  China  about  1400  by  Buddhist  priests,  and  was  established 
at  the  Nin-naji  Temple  near  Kyoto.  Tapestry  weaving  became  fashionable 
much  as  it  did  in  Europe  during  the  Middle  Ages,  and  the  courtiers  and 
nobles  wove  patterns  for  amusement,  the  most  expert  being  a certain  crown 
prince  of  the  Ashikaga  Dynasty.  In  the  sixteenth  and  seventeenth  cen- 
turies, Spanish  and  Dutch  ships  brought  European  tapestries  to  Japan, 
and  to  imitate  these  large  examples  of  tsuzure  were  woven.  These  were 
especially  used  as  decorations  for  the  festival  cars  of  the  Gion-Jinsha 
(Shinto  temple),  Kyoto,  for  the  celebration  in  honor  of  the  god  Susa-no-o, 
brother  of  the  Sun  Goddess.  The  art  of  weaving  tapestries  made  great 
improvement  throughout  the  eighteenth  century.  Priests’  robes,  Miyokuri 
hangings,  and  Fukusa  were  manufactured,  and  it  was  sought  after  for 
tobacco-pouches  and  small  bags.  Many  of  the  designs  were  done  by  famous 
artists  of  the  time,  especially  of  the  Shijo  (Okio)  and  Kano  schools. 

In  the  Bun-Kwa  and  Bun-sei  era  (1804-1829),  Yamato-Nishiki  (the 
method  of  weaving  which  was  entirely  different  from  the  old)  were  woven 


18 


in  great  variety.  Many  foreign  influences  are  manifest  in  the  Nishiki  of 
this  period.  Tabiye-Nishiki  imitated  European  textiles  which  had  been 
brought  to  Japan  by  the  Dutch  (Nos.  ioi,  102,  105,  106),  Kantan  copied 
brocades  imported  from  Canton,  and  Goburan-Ori  were  influenced  by 
specimens  of  Gobelin  tapestries. 

Among  the  many  productions  of  Nishijin  in  this  period  were  Atsu-Ita- 
Ori,  Yori-Ito-Ori,  Koyanagi,  Arisuga-Ori  (No.  100),  Shoha-Ori,  Nidzu- 
Donsu,  Kara-Aya,  Hongoku-Ori,  Fu-Tsu-Ori,  Yezo-Nishiki  (known  as 
Nishijin  Ezo),  Rankei,  Ichiraku,  Kohaku,  Anpera-Ori,  etc.,  all  of  which 
were  known  as  “Nishijin-bata.” 

About  1818  there  were  produced  at  Kiri-fu,  in  the  province  of  Ko- 
dzuke,  the  following  varieties  of  brocades:  Ito-Nishiki,  Kara-aya,  Kohaku, 
Yori-ito-Ori,  Atsuita-Ori,  Futsu-Ori,  Donsu,  Nicho-Donsu,  all  of  which  were 
copies  of  the  Nishijin-bata  and  inferior  to  them. 

From  this  time  on  there  is  a marked  decadence  in  the  textile  art.  We 
find  more  symbolism  in  the  patterns.  The  designs  follow  the  Kano,  Tosa, 
Korin,  and  Shijo  schools,  but  lack  dignity  in  effect,  as  the  designers  were 
inferior  artists. 

In  the  latter  part  of  the  Ten-po  era  (1830-1843),  the  textile  art  met 
with  a great  calamity.  To  check  the  growing  luxury  and  extravagance,  the 
Tokugawa  government  established  sumptuary  laws  which  prohibited  the 
selling  of  any  silk  brocades.  This  naturally  brought  disaster  to  the  weav- 
ing industry,  from  which  it  has  never  recovered. 


19 


Varieties  of  Priest’s  Robes 


Kesa  signifies  a priest’s  robe.  The  kesa  is  usually  composed  of  forty- 
eight  pieces,  on  account  of  a tradition  that  the  robe  of  Buddha  contained 
that  number.  On  each  robe  six  small  squares  of  a different  color  are  super- 
imposed representing  the  Shiten  or  six  Buddhist  characters,  Na-mu-a-mi- 
da-Butsu.  The  Shiten  were  very  sacred.  Originally  they  were  consecrated 
at  the  temple  altar  before  being  sewn  upon  the  robe,  and  often  small  relics 
of  the  Buddha  as  saints  were  placed  under  them. 

In  Japan  there  are  seventeen  Buddhist  sects,  the  Zen,  Shingon,  Jodo, 
Shinshu  (Hongwanji),  and  Tendai  being  perhaps  the  most  important. 
After  Buddhism  had  established  its  great  hold  on  the  Japanese  people  in 
the  sixth  century  A.D.,  an  elaborate  ritual  was  developed.  Rich  brocades 
and  embroideries  were  eagerly  sought  after  for  kesa  and  altar  cloths.  Some 
of  the  Buddhist  sects  evolved  a distinctive  type  of  kesa.  These  types  may 
be  enumerated  as  follows: 

1.  The  Wa-kesa  belonging  to  the  Shinshu  and  Jodo  sects,  is  com- 
posed of  a single  narrow  strip,  three  to  four  inches  in  width.  It  is  hung 
about  the  neck,  and  is  for  every-day  wear.  (For  festivals  and  important 
ceremonies  the  Hichi-jo  kesa  is  worn.  See  below.) 

2.  The  Go-jo  kesa,  peculiar  to  the  Shingon  and  Shinshu  sects,  and 
composed  of  five  strips,  is  a rectangular  bag  with  three  shoulder  straps. 
It  is  hung  on  the  left  side  in  such  a way  that  one  strap  comes  in  front  and 
the  other  two  at  the  back. 

3.  The  Hichi-jo  kesa,  the  ceremonial  robe  of  the  Shinshu  and  Jodo 
sects,  is  composed  of  seven  strips  and  is  rectangular.  Most  of  the  kesa 
in  the  collection  are  of  this  type,  as  the  Shinshu  sect  was  one  of  the  richest 
in  Japan  and  accumulated  a great  wealth  of  these  brocades. 

4.  The  O-hi,  composed  of  a single  strip  about  one  foot  in  width,  is 
worn  in  connection  with  the  Hichi-jo  kesa.  It  is  passed  over  the  left 
shoulder,  across  the  breast,  and  under  the  right  arm.  It  has  four 
Shiten  or  Buddhist  signs.  (See  above.) 


20 


5.  The  Ku-jo  kesa,  the  ceremonial  robe  of  the  Tendai  and  Zen  sects, 
is  composed  of  nine  strips  and  is  considerably  larger  than  the  other  types 
of  kesa.  It  is  trapezoidal  in  shape.  (For  daily  wear  the  Tendai  and  Zen 
sects  have  a plain  robe  of  coarsely  woven  cloth.) 

6.  The  Hichi-ku-jo  kesa,  as  its  name  implies,  is  composed  of  sixteen 
strips.  It  is  peculiar  to  the  Tendai  and  Zen  sects.  This  variety  of  kesa 
was  only  used  at  the  greatest  ceremonies,  and  it  is  no  longer  worn  at  the 
present  day. 

Fukusa  are  used  as  coverings  for  gifts,  and  the  designs  are  always 
symbolical  of  long  life,  a fortunate  marriage,  wealth,  etc. 


Catalog 

of  a collection  of 

Chinese  and  Japanese  Brocades 

Kinran,  Nishiki,  Tsuzure 


Dating  from  1400  to  1812  A.D. 


Catalog 

4.  KO-KINRAN  KESA  (Buddhist  priest’s  robe).  Chinese.  See  p.  12. 

Pattern:  Nicho-dzuru  (arabesques  of  peony  flowers  and  double  vines),  in  gold  on 
a subdued  red  ground. 

Date:  ca.  1400. 

Length,  seven  feet  two  inches;  width,  three  feet  eight  inches. 

8.  KO-KINRAN  KESA.  Chinese. 

Pattern:  Nicho-dzuru  (arabesque  of  peonies  and  the  double  vine),  in  gold  on 
white  ground. 

Date:  ca.  1400. 

Length,  six  feet  three  inches;  width,  three  feet  seven  inches. 

31.  KARA-ORI  NISHIKI  KESA.  Chinese.  See  p.  16. 

Pattern:  Kiku  Botan  Karahana  (arabesque  of  chrysanthemums  and  peonies),  in 
four  colors  and  gold  on  a subdued  red  ground. 

Date:  ca.  1400. 

Length,  seven  feet  five  inches;  width,  three  feet  eight  inches. 

64.  KANAJI  (gold  ground)  NISHIKI  O-HI.  Chinese. 

Pattern:  Kikko. 

Date:  ca.  1400. 

Length,  five  feet;  width,  eleven  inches. 

96.  ARAISO  GINRAN  (silver)  KESA.  Chinese. 

Celebrated  pattern  known  as  Araiso  (fish  near  rough  coast),  in  silver  on  a dark- 
brown  ground. 

Date:  about  1400. 

Very  rare. 

Length,  six  feet  one  inch;  width,  three  feet  eight  inches. 

65.  KANAJI  NISHIKI  O-HI.  Chinese. 

Pattern:  Lotus  flowers  and  clouds,  subdued  tone  of  green  and  gold. 

Date:  ca.  1450. 

Length,  five  feet  four  inches;  width,  twelve  inches. 

1.  KO-KINRAN  KESA.  Chinese. 

Pattern : Ren-Karahana  (arabesque  of  lotus  flowers),  in  gold  on  a dark-blue  ground. 
Date:  ca.  1475. 

Length,  six  feet  nine  inches;  width,  three  feet  eight  inches. 

2.  KO-KINRAN  KESA.  Chinese. 

Pattern:  Ren-Karahana  (arabesque  of  lotus  flowers),  in  gold  on  dark-blue  ground. 
Date:  Bun-mei  period  (1469-1486). 

Length,  six  feet  seven  inches;  width,  three  feet  six  inches. 


25 


3.  KO-KINRAN  KESA.  Chinese. 

Pattern:  Ren-Karahana  (arabesque  of  lotus  flowers),  in  gold  on  a subdued  red 
ground. 

Date:  ca.  1475. 

Length,  seven  feet;  width,  three  feet  nine  inches. 

10.  TSUMUGIJI  (unglossed  silk)  KINRAN  KESA.  Chinese. 

Pattern:  Nicho-dzuru  (arabesque  of  peonies  and  double  vines),  in  gold  on  dull 
red  ground. 

Date:  Bun-mei  period  (1469-1486). 

Length,  six  feet  ten  inches;  width,  three  feet  three  inches. 

6.  YAKEGIRE  (like  molten  gold)  KINRAN  KESA.  Chinese. 

Pattern:  Ren-Karahana  (arabesque  of  lotus  flowers),  in  rich  gold  on  superb  red 
ground. 

Date:  ca.  1500. 

A very  fine  example. 

Length,  six  feet  three  inches;  width,  three  feet  six  inches. 

7.  TO-  (Chinese  Ming  Dynasty)  KINRAN  KESA.  See  p.  16. 

Pattern:  Ren-Karahana  (arabesque  of  lotus  flowers),  in  gold  on  subdued  red 
ground. 

Date:  ca.  1500. 

Length,  six  feet  six  inches;  width,  three  feet  six  inches. 

5.  YAKEGIRE  (like  molten  gold)  KINRAN  KESA.  Chinese. 

Pattern:  Kiku,  Botan  Karahana  (arabesque  of  chrysanthemums  and  poenies),  in 
rich  gold  on  a red  ground. 

Date:  ca.  1525. 

A rare  example. 

Length,  six  feet  eleven  inches;  width,  three  feet  nine  inches. 

11.  ANRAKU-AN  (a  well-known  Buddhist  priest)  or  PEKING-ORI  KINRAN  O-HI. 

Pattern:  Nicho-dzuru  (arabesque  of  peonies  and  double  vines),  in  rich  gold  on 
dark  blue  ground. 

Date:  ca.  1550. 

A very  valuable  specimen. 

Length,  five  feet  three  inches;  width,  one  foot. 

18.  KINRAN  KESA.  (Sakai  Loom,  near  Osaka.)  See  p.  16. 

Pattern:  Hinomaru  (crest  of  feudal  lord),  in  gold  on  a dark  blue  ground. 

Date:  Beginning  of  the  Tensho  period  (1573). 

Length,  six  feet  eight  inches;  width,  three  feet  three  inches. 

19.  KINRAN  KESA.  (Sakai  Loom.) 

Celebrated  Pattern:  Ko-dzuru  (peonies),  in  rich  gold  on  a rich  deep  blue  ground. 
Date:  Tensho  period  (1573-1591). 

A very  fine  specimen. 

Length,  five  feet;  width,  three  feet  six  inches. 

20.  KINRAN  KESA.  (Sakai  Loom.) 

Pattern:  Tessen  Karahana  (arabesque  of  the  tessen  flowers),  in  gold  on  a rich 
deep  blue  ground. 

Date:  Tensho  period  (1573-1591). 

Length,  seven  feet  one  inch;  width,  three  feet  seven  inches. 


26 


33-  BANREKI  (Tai-Ming  Wangli  Dynasty  of  China),  NISHIKI  KESA. 

Pattern:  Banreki-Ryu,  Wangli  dragon,  in  colors  and  gold  threads  on  a dark  brown 
ground. 

Date:  Tai-Ming  Wangli  period  (1573-1619). 

Length,  six  feet  six  inches;  width,  three  feet  six  inches. 


27 


2i.  KINRAN  KESA.  (Sakai  Loom.) 

Celebrated  pattern:  Nicho-dzuru  (peonies  and  double  vine),  in  rich  gold  on  a 
superb  deep  blue  ground. 

Date:  Tensho  period  (1573-1591.) 

Length,  six  feet  ten  inches;  width,  three  feet  three  inches. 

28.  SHIJIRA  (with  crepe  effect)  KINRAN.  (Sakai  Loom  in  Ming  method.)  Altar 
cover. 

Pattern:  Banreki-Ryu,  Wangli  dragons,  in  gold  on  a light  brown  ground  (Ming 
design). 

Date:  Tensho  period  (1573-1591). 

Nineteen  inches  square. 

86.  NISHIKI  KESA.  (Sakai  Loom.) 

Pattern:  Sprays  of  Kiku  and  Botan  (chrysanthemums  and  peonies),  in  seven 
colors  on  a dull  red  ground. 

Date:  Tensho  period  (1573-1591). 

Length,  six  feet  nine  inches;  width,  three  feet  nine  inches. 

87.  NISHIKI  KESA.  (Sakai  Loom.) 

Conventional  pattern  of  Kiku  and  Botan  (chrysanthemums  and  peonies),  in  seven 
colors  on  a white  ground. 

Date:  Tensho  period  (1573-1591). 

Length,  seven  feet  three  inches;  width,  three  feet  six  inches. 

16.  KINRAN  KESA.  (Sakai  Loom.) 

Pattern:  Blazons  of  Kiku,  Rinbo,  Manji  (chrysanthemums  and  swastikas  in 
medallions)  and  conventional  clouds,  in  rich  gold  on  a red  ground. 

Date:  Keicho  period  (1596-1614). 

Length,  six  feet  nine  inches;  width,  three  feet  ten  inches. 

17.  KINRAN  KESA.  (Sakai  Loom.) 

Pattern:  Botan  Karahana  (arabesque  of  peonies)  with  Kiri  (paulownia),  in  gold 
on  a red  ground. 

Date:  Keicho  period  (1596-1614). 

Length,  six  feet  nine  inches;  width,  three  feet  ten  inches. 

61.  NISHIKI  O-HI.  (Nishijin  Loom.)  See  p.  16. 

Ten  jo  pattern  in  various  colors  and  gold  on  dark  blue  ground. 

Date:  Keicho  period  (1596-1614). 

A very  fine  example  of  this  kind. 

Length,  five  feet  three  inches;  width,  eleven  inches. 

69.  KARA-ORI  KESA.  (Nishijin  Loom.)  See  p.  16. 

Celebrated  Momoyama  pattern:  Chrysanthemum  and  reed  in  Kanze  (conven- 
vcntional)  water  with  water-wheel  in  a variety  of  colors. 

Date:  Keicho  period  (1596-1614). 

The  oldest  specimen  of  this  kind. 

Length,  seven  feet  one  inch;  width,  three  feet  eight  inches. 

71.  KARA-ORI  KESA.  (Nishijin  Loom.) 

Pattern:  Tsuru-no-Maru  (two  storks  in  medallion)  on  a ground  of  hishigata 
(diamond  shape),  in  green,  white,  yellow,  blue  and  subdued  red. 

Date:  Keicho  period  (1596-1614). 

Length,  seven  feet;  width,  three  feet  eight  inches. 


28 


88.  KIN-SHUCHIN  (Imperial  Loom),  known  as  Kurofune-gire  (black  boat)  KESA. 

Hishigata  (checkered)  pattern,  with  chrysanthemum  crests  in  five  colors  and  gold 
on  a deep  blue  ground. 

Date:  Keicho  period  (1596-1614). 

Length,  six  feet  nine  inches;  width,  three  feet  nine  inches. 


29 


73-  KARA-ORI  KESA.  (Nishijin  Loom.) 

Pattern:  Sprays  of  peony  in  superb  colors  in  Tatewaku-moyo  (wavy  lines)  on 
dark  green  ground. 

Date:  Momoyama  period  (1594-1596). 

Length,  six  feet  three  inches;  width,  three  feet  nine  inches. 

80.  KARA-ORI.  A long  piece.  (Imperial  Loom  of  Nishijin,  Kyoto.) 

Pattern:  Hishigata-Moyo  (diamond-shaped  design)  with  chrysanthemum  crests 
in  beautiful  colors  on  dark  green  ground. 

Date:  Keicho  period  (1596-1614). 

Length,  five  feet;  width,  sixteen  inches. 

81.  KARA-AY A-ORI  KESA.  (Nishijin  Loom.) 

Celebrated  Momoyama  pattern:  Kiri  (paulownia  in  circle),  in  colors  on  delicate 
purple  and  gold  Ishidatami  (checked)  ground. 

Date:  Keicho  period  (1596-1614). 

A rare  example. 

Length,  six  feet  seven  inches;  width,  three  feet  eight  inches. 

85.  NISHIKI  KESA.  (Sakai  Loom.) 

Archaic  Karahana  (arabesque)  pattern,  in  seven  colors  on  a white  and  brown 
ground. 

Date:  Tensho  period  (1573-1591). 

Length,  six  feet  six  inches;  width,  three  feet  eight  inches. 

91.  KIN-SHUCHIN  O-HI.  (Nishijin  Loom.) 

Momoyama  pattern:  Tsutsumi  (kind  of  drum)  and  Karakusa  (arabesque  of 
flowers),  in  green,  red  and  gold  on  a deep  blue  ground. 

Date:  Keicho  period  (1596-1614). 

Length,  five  feet  three  inches;  width,  thirteen  inches. 

109.  WATA-NISHIKI  KESA.  (Nishijin  Loom.) 

Pattern:  Ume  (plum  blossom)  Karahana  (arabesque),  in  five  colors  and  gold  on 
beautiful  red  ground. 

Date:  Momoyama  period  (1594-1596). 

Length,  six  feet  four  inches;  width,  three  feet  two  inches. 

24.  KINRAN  KESA.  (Sakai  Loom.) 

Pattern:  Blazon  of  Rinbo  and  conventional  clouds,  in  gold  on  white  ground. 
Date:  Keicho  period  (1596-1614). 

Length,  six  feet  six  inches;  width,  three  feet  seven  inches. 

34.  NISHIKI  KESA.  (Nishijin  Loom.) 

Pattern : Gan-Ryu  (dragon  in  medallion),  in  five  colors  and  gold  on  a green  ground. 
Date:  Keicho  period  (1596-1614). 

Length,  six  feet  six  inches;  width,  three  feet  nine  inches. 

35.  NISHIKI  KESA.  (Nishijin  Loom.) 

Intricate  Sholcko  pattern  (six  interrelated  squares),  in  five  colors  and  gold  on  a 
subdued  red  ground. 

Date:  ca.  1600. 

Length,  seven  feet;  width,  three  feet  ten  inches. 


3° 


75-  KARA-ORI  KESA.  (Nishijin  Loom.) 

Pattern:  Ho-wo  birds  (phoenix),  on  a ground  of  floral  design  in  a variety  of  colors 
on  delicate  brown  ground. 

Date:  Kan-yei  period  (1624-1643). 

One  of  the  finest  examples  in  this  collection. 

Length,  six  feet  ten  inches;  width,  three  feet  nine  inches. 


3i 


70. 


KARA-ORI  KESA.  (Nishijin  Loom.) 

Pattern:  Flying  herons,  in  white  on  a ground  of  colored  Kikko  pattern. 

Date:  Gen-na  period  (1615-1623). 

Length,  six  feet  six  inches;  width,  three  feet  eight  inches. 

72.  KARA-ORI  KESA.  (Nishijin  Loom.) 

Diamond  pattern:  Narihira-Bishi  (favorite  pattern  of  Prince  Narihira),  in  colors 
on  subdued  red  ground. 

Date:  Gen-na  period  (1615-1623). 

Length,  seven  feet;  width,  three  fe.et  eight  inches. 

74.  KARA-ORI  KESA.  (Nishijin  Loom). 

Graceful  pattern:  Akigusa-moyo  (autumnal  flowers),  typical  Japanese  method 
(derived  from  the  Kano  painters),  in  colors  on  a pale  blue  and  red  Ori-wake 
ground. 

Date:  Keicho  period  (1596-1614). 

Length,  six  feet  eight  inches;  width,  four  feet. 

76.  KARA-ORI  KESA.  (Nishijin  Loom.) 

Pattern:  Tessen  Karahana  (arabesque  cf  tessen  flowers),  in  various  colors  on  light 
brown  ground. 

Date:  Kan-yei  period  (1624-1643). 

Length,  six  feet  ten  inches;  width,  three  feet  four  inches. 

93.  KIN-DONSU  (damask)  O-HI.  (Nishijin  Loom.)  See  p.  17. 

Pattern:  Ho-wo  bird  (phoenix)  and  flowers,  in  gold,  having  very  fine  colored 
threads  on  a white  ground. 

Date:  Keicho  period  (1596-1614). 

Rare  example. 

Length,  five  feet  six  inches;  width,  thirteen  inches. 

94.  KIN-DONSU  (damask)  O-HI.  (Nishijin  Loom.) 

Archaic  pattern  of  flowers  and  clouds,  in  seven  colors  and  gold'on  a white  ground. 
Date:  ca.  1625. 

Length,  five  feet  four  inches;  width,  eleven  inches. 

95.  SHUSUJI  (satin)  KINRAN  KESA.  (Nishijin  Loom.) 

Pattern:  Un-Ryu  (dragons  and  clouds),  in  rich  gold  on  a purple  ground.  (This 
color  chosen  to  represent  the  highest  rank.) 

Date:  Kan-yei  period  (1624-1643). 

Length,  seven  feet;  width,  three  feet  six  inches. 

97.  ITO-NISHIKI  (all  silk,  without  gold  or  silver)  KESA.  (Nishijin  Loom.) 

Pattern:  Tessen  Karahana,  in  five  colors  on  deep  blue  ground. 

Date:  Kan-yei  period  (1624-1643). 

Length,  six  feet  eight  inches;  width,  three  feet  eight  inches. 

100.  ARISUGA-WA-ORI  KESA.  (Nishijin  Loom.) 

Pattern:  Nanban  Karahana  (East  Indian  influence),  in  blue,  white,  pink  and 
green  on  brown  ground  having  threads  of  gold. 

Date:  ca.  1625. 

A very  rare  example. 

Length,  six  feet  seven  inches;  width,  four  feet  six  inches. 


32 


78.  KARA-ORI  KESA.  (Nishi jin  Loom.) 

A graceful  pattern  of  weeping  willow  and  flying  swallows  (typical  Japanese  design), 
in  white,  blue,  green,  yellow  and  gold  on  a red  Manji-tsunagi  (same  design  re- 
peated) ground. 

Date:  ca.  1650. 

Length,  six  feet  six  inches;  width,  four  feet. 


33 


IOI. 


104. 


107. 


12. 


13- 


14. 


27. 


32. 


36. 


TABIE-DONSU  KESA.  (Copied  from  European  brocade.)  (Nishijin  Loom.) 
Pattern:  Momo  (peach  blossom)  Karahana  (arabesque),  in  blue,  white  and  green 
on  a brown  ground. 

Date:  ca.  1625. 

Length,  six  feet  ten  inches;  width,  three  feet  ten  inches. 

NICHO-DONSU  KESA.  (Nishijin  Loom.)  Seep.  17. 

Pattern:  O-dori-Kiri  (paulownia  flowers  in  dancing  shapes),  in  green,  brown  and 
subdued  gold  on  a deep  blue  ground. 

Date:  ca.  1625. 

Length,  six  feet  nine  inches;  width,  three  feet  eight  inches. 

SHIJIRA-NISHIKI  (Chinese)  KESA. 

Pattern:  Nanban  Karahana,  in  five  colors  and  gold  on  a peculiar  red  ground. 
Date:  ca.  1625. 

A very  rare  specimen. 

Length,  six  feet  ten  inches;  width,  three  feet  eleven  inches. 

NICHO,  or  colored  silk,  KINRAN  KESA.  (From  the  Imperial  Loom  of  Nishijin, 
Kyoto.)  See  p.  14. 

Pattern:  Dragon  in  medallion  and  spray  of  chrysanthemum,  in  five  colors  and 
rich  gold  on  a green  ground. 

Date:  ca.  1650. 

Length,  seven  feet;  width,  three  feet  ten  inches. 

NICHO-KINRAN  KESA.  (Nishijin  Loom.) 

Pattern:  Hana-no-maru  (peony  in  medallion),  in  four  colors  and  gold  on  a red 
ground. 

Date:  ca.  1600. 

Length,  seven  feet  four  inches;  width,  three  feet  seven  inches. 

NICHO-KINRAN  KESA.  (Nishijin  Loom.) 

Pattern:  Kilcu  Botan  Karahana  (arabesque  of  chrysanthemums  and  peonies),  in 
seven  colors  and  gold  on  a red  ground. 

Date:  ca.  1650. 

Length,  seven  feet  four  inches;  width,  three  feet  seven  inches. 

KINRAN  ALTAR  COVER.  (Imperial  Loom  of  Nishijin.) 

Pattern:  Chrysanthemums  in  gold,  known  as  Kagahaku,  on  a black  ground. 
Date:  Kan-yei  period  (1624-1643). 

Nineteen  inches  square. 

KARA-ORI  (Chinese)  NISHIKI  KESA. 

Pattern:  Kiku  Karahana  (arabesque  of  chrysanthemums),  in  blue,  red,  white, 
green  and  gold  on  a pale  blue  ground. 

Date:  ca.  1650. 

Length,  six  feet  nine  inches;  width,  three  feet  nine  inches. 

NISHIKI  KESA.  (Nishijin  Loom.) 

Pattern:  Gan-Ryu  (dragon  in  medallion)  and  spray  of  flower  with  conventional 
clouds  in  various  colors  and  gold  on  a dark  gray  ground. 

Date:  ca.  1625. 

Length,  seven  feet  four  inches;  width,  three  feet  seven  inches. 


34 


38.  NISHIICI  KESA.  (Nishi jin  Loom.) 

Pattern:  Open  fans  having  floral  design  in  five  colors  and  gold  on  a light  green 
ground. 

Date:  ca.  1625. 

Length,  six  feet  eleven  inches;  width,  three  feet  nine  inches. 

79.  KARA-ORI  KESA.  (Nishi jin  Loom.) 

Superb  pattern:  Tessen  Karahana  (arabesque  of  tessen  flowers)  with  sprays  of 
camellias  in  various  colors  on  a red  and  gold  Ishidatami  (checked)  ground. 

Date:  ca.  1650. 

A very  rare  specimen. 

Length,  seven  feet;  width,  three  feet  ten  inches. 

82.  YEZO-NISHIKI  KESA.  (Produced  at  In-u,  one  of  the  Northern  Provinces  of 
Japan.) 

Pattern:  Banreki-Ryu  (celebrated  Ming  pattern  of  dragons),  in  gold  thread  and 
conventional  clouds  in  various  colors  on  a grayish  brown  ground. 

Date:  ca.  1600. 

Length,  five  feet  two  inches;  width,  three  feet  three  inches. 

89.  KIN-SHUCHIN  KESA.  (Imperial  Loom  of  Nishijin,  Kyoto.) 

Royal  pattern:  Kiku  and  Kiri  (chrysanthemum  and  paulownia),  in  green,  red  and 
gold  on  a deep  blue  ground. 

Date:  ca.  1650. 

Length,  six  feet;  width,  three  feet  eleven  inches. 

90.  KIN-SHUCHIN  KESA.  (Nishijin  Loom.) 

Pattern:  Tessen  Karahana,  in  green,  red  and  gold  on  a brown  ground. 

Date:  Meireki  period  (1655-1657). 

Length,  six  feet  ten  inches;  width,  three  feet  ten  inches. 

99.  ITO-NISHIKI  (all  silk)  KESA.  (Nishijin  Loom.)  See  p.  16. 

Pattern:  Flowrers  of  the  four  seasons,  in  colors  on  a green  ground. 

Date:  Meireki  period  (1655-1657). 

Length,  six  feet  eight  inches;  width,  three  feet  five  inches. 

102.  SHUCHIN-DONSU  KESA.  (Dutch  damask.) 

Karahana  (arabesque)  pattern  in  five  colors  on  an  Adzuki-iro  ground. 

Date:  ca.  1650. 

Length,  six  feet  six  inches;  width,  three  feet  nine  inches. 

1 13.  KINSHA-ORI  (stiff  silk)  KESA.  (Nishijin  Loom.) 

Pattern:  Senmen  (fan)  on  gold  Asanoha  (hemp  leaf),  in  five  colors  on  a dark 
gray  ground. 

Date:  ca.  1650. 

Length,  six  feet  seven  inches;  width,  three  feet  nine  inches. 

1 15.  TO-DONSU  (Chinese)  ALTAR  COVER. 

Pattern:  Sprays  of  Kiku  (chrysanthemum)  and  pomegranate,  in  five  colors  and 
gold  threads  on  a dark  red  ground. 

Date:  ca.  1625. 

A very  fine  specimen. 

Length,  twenty-seven  inches;  width,  twenty-three  inches. 


35 


23.  AYAJI  (cross  woven)  KINRAN  KESA.  (Nishijin  Loom.) 

Pattern:  Ama-Ryu  (rainy  dragon),  in  gold  on  a dark  blue  ayaji  ground. 

Date:  Kan-bun  period  (1661-1672). 

Length,  six  feet  two  inches;  width,  three  feet  ten  inches. 

26.  KINRAN  O-HI.  (Nishijin  Loom.) 

Pattern:  O-dzuru  (large  vine),  in  gold  on  a dark  blue  ground. 

Date:  Ten-wa  period  (1681-1683). 

Length,  five  feet  six  inches;  width,  one  foot  two  inches. 

29.  KINRAN  (Nishijin  Loom)  ALTAR  COVER. 

Pattern:  Intricate  Shokko,  in  gold  on  dark  blue  ground.  This  pattern,  of  six 
squares,  is  one  of  the  most  celebrated  in  Japan. 

Date:  ca.  1675. 

Nineteen  inches  square. 

39.  NISHIKI  KESA.  (Nishijin  Loom.) 

Typical  Japanese  pattern  of  flying  storks,  plum  and  pine-tree,  with  clouds,  in  five 
colors  and  gold  on  a dark  green  ground. 

Date:  ca.  1675. 

Length,  six  feet  eight  inches;  width,  three  feet  nine  inches. 

41.  NISHIKI  KESA.  (Nishijin  Loom.) 

Pattern:  Sprays  of  chrysanthemums  and  peonies  in  various  colors  and  gold  on  a 
red  ground. 

Date:  ca.  1675. 

Length,  seven  feet  two  inches;  width,  three  feet  eleven  inches. 

60.  NISHIKI  O-HI.  (Nishijin  Loom.) 

Intricate  Shokko  pattern  in  five  colors  and  gold  on  green  ground. 

Date:  ca.  1675. 

Length,  five  feet  three  inches;  width,  eleven  inches. 

66.  KANAJI  NISHIKI  O-HI.  (Nishijin  Loom.) 

Pattern:  Shokko  (six  squares). 

Date:  ca.  1675. 

Length,  five  feet;  width,  eleven  inches. 

108.  YAMATO-NISHIKI  KESA.  (Nishijin  Loom.) 

Kiku  Karahana  on  Shippo  pattern  in  five  colors  and  gold  on  a brown  ground. 
Date:  ca.  1675. 

Length,  six  feet  nine  inches;  width,  three  feet  nine  inches. 

no.  NAMI-SHUCHIN  KESA.  (Nishijin  Loom.) 

Pattern:  Kiku  (chrysanthemum)  with  Manji-tsunagi  (connected  swastikas),  in 
delicate  pink  and  white  on  a very  pale  blue  ground,  having  embroidered  crests  in 
gold  threads. 

Date:  ca.  1650. 

Length,  seven  feet;  width,  three  feet  eleven  inches. 

22.  KINRAN.  (Nishijin  Loom.)  Used  as  an  altar  cover. 

Pattern:  Nicho-dzuru  (arabesque  of  peonies  and  double  vines),  in  rich  gold  on  a 
blue  ground. 

Date:  ca.  1700. 

Four  feet  four  inches  square. 


36 


37-  NISHIKI  KESA.  (Nishijin  Loom.) 

Yukiwa  (like  snowflakes)  floral  pattern,  in  medallion,  with  bundles  of  rice  in  five 
colors  and  gold  on  a delicate  green  ground. 

Date:  ca.  1675. 

Length,  six  feet  eleven  inches;  width,  three  feet  eight  inches. 

40.  NISHIKI  KESA.  (Nishijin  Loom.) 

Pattern:  Sprays  of  peony  and  Ho-wo  birds  (phoenix),  in  medallions,  in  five  colors 
and  gold  on  a red  ground. 

Date:  ca.  1700. 

Length,  five  feet  eleven  inches;  width,  three  feet  nine  inches. 

43.  NISHIKI  KESA.  (Nishijin  Loom.) 

Pattern:  Sprays  of  chrysanthemums  and  Hagoromo  (feather  coat  of  angel),  in 
various  colors  and  gold  on  a pale  blue  ground. 

Date:  ca.  1700. 

Length,  six  feet  seven  inches;  width,  three  feet  eight  inches. 

49.  NISHIKI  ALTAR  COVER.  (Nishijin  Loom.) 

Pattern:  Maru-Moyo,  charming  design  in  medallion,  in  five  colors  and  gold  on 
green  ground. 

Date:  ca.  1700. 

Twenty-nine  inches  square. 

50.  NISHIKI  ALTAR  COVER.  (Nishijin  Loom.) 

Shokko  pattern  (six  squares),  in  various  colors  and  gold  on  a dark  blue  ground. 
Date:  ca.  1675.  , 

Twenty-six  inches  square. 

51.  NISHIKI  ALTAR  COVER.  (Nishijin  Loom.) 

Pattern:  Maru-Moyo,  in  seven  colors  and  gold  on  a white  ground. 

Date:  ca.  1700. 

Twenty-six  inches  square. 

52.  NISHIKI  ALTAR  COVER.  (Imperial  Loom  of  Nishijin,  Kyoto.) 

Kikko  pattern,  with  Mikado’s  crests,  in  six  colors  and  gold  on  a white  ground. 
Date:  ca.  1700. 

Twenty-seven  inches  square. 

59.  NISHIKI  ALTAR  COVER.  (Nishijin  Loom.) 

Kikko  pattern,  in  five  colors  and  gold  on  dark  green  ground. 

Date:  ca.  1675. 

Thirty  inches  square. 

83.  YEZO-NISHIKI  KESA.  (Copied  from  an  original  Ainu  design.)  (Nishijin  Loom.) 
Pattern:  Banreki-Ryu  (dragon),  in  gold  thread,  and  clouds,  in  seven  colors  on  a 
red  ground. 

Date:  ca.  1700. 

A unique  specimen. 

Length,  six  feet  eight  inches;  width,  three  feet  eight  inches. 


37 


84. 


Q2. 


98. 


105- 


io6. 


hi. 


II7- 


1 18. 


119. 


YEZO-NISHIKI  ALTAR  COVER.  (See  No.  83.) 

Pattern:  Banreki-Ryu  (dragon),  in  gold  thread,  and  clouds,  in  seven  colors  on  a 
dark  blue  ground. 

Date:  ca.  1700. 

Twenty-six  inches  square. 

KIN  SHUCHIN  (satin  ground).  (Tokugawa  Shogun’s  household  loom  at  Kyoto.) 
See  p.  17. 

Pattern:  Karakusa  (arabesque  of  flowers)  with  blazon  of  Tokugawa  Shogun,  in 
green,  red,  white,  yellow  and  gold  on  deep  blue  and  gold  ground.  Contributed  by 
the  Shogun  to  the  Temple  Zo-joji,  of  Shiba  (Yedo). 

Date:  Kyoho  period  (1716-1735). 

A very  rich  quality  of  brocade. 

Thirty  inches  square. 

ITO-NISHIKI  KESA.  (Nishijin  Loom.)  See  p.  17. 

Pattern:  Karahana  (arabesque),  in  various  colors  on  deep  blue  ground. 

Date:  ca.  1700. 

Length,  six  feet  nine  inches;  width,  three  feet  nine  inches. 

ORANDA-GIRE  KESA.  (Imported  by  the  Dutch.) 

Pattern:  Nanban  Karahana  (East  Indian  arabesques),  in  colors  on  a white  ground. 
Date:  ca.  1700. 

Length,  six  feet  eleven  inches;  width,  three  feet  ten  inches. 

ORANDA-ORI  KESA.  (Dutch  origin.) 

Pattern:  Nanban  Karahana  (East  Indian  arabesque),  in  colors  on  a white  ground. 
Date:  ca.  1700. 

Length,  six  feet  ten  inches;  width,  three  feet  ten  inches. 

SHOKKO-NISHIKI  KESA.  (Nishijin  Loom.) 

Pattern:  Shokko  (copied  from  a celebrated  Ming  design),  in  seven  colors  on  a 
light  brown  ground. 

Date:  ca.  1725. 

Length,  six  feet  nine  inches;  width,  three  feet  ten  inches. 

TSUZURE-NISHIKI.  Fukusa  (cover  for  a gift).  See  p.  18. 

Design:  Shimadai  or  Takasago  (emblem  of  long  life  and  happy  match). 

Date:  ca.  1725. 

Length,  twenty-eight  inches;  width,  twenty-six  inches. 

TSUZURE-NISHIKI  FUKUSA. 

Artistic  design:  Sugomori  (mother-love,  stork  and  pine-tree,  emblem  of  happy 

family,  in  colors  and  gold  on  a red  ground,  which  represents  the  rising  sun.) 
Date:  ca.  1725. 

Length,  twenty-six  inches;  width,  twenty-four  inches. 

TSUZURE-NISHIKI  ALTAR  COVER. 

Design : Dragon  and  lotus  pond,  in  colors  and  gold,  woven  with  peacock’s  feathers. 
Date:  ca.  1700. 

A very  fine  specimen. 

Twenty-six  inches  square. 


38 


n6.  TSUZURE-NISHIKI  KESA.  (Tapestry.)  Kyoto.  Seep.  12. 

Magnificent  pattern:  Flying  Ho-wo  bird  (phoenix)  above  paulownia  tree,  in 
exquisite  colors  and  gold  on  dark  blue  ground. 

Date:  Kyoho  period  (1716-1735). 

One  of  the  most  important  pieces  in  this  collection. 

Length,  three  feet  eight  inches;  width,  six  feet  eight  inches. 


39 


i5-  NICHO-KINRAN.  (Nishi jin  Loom.)  Used  as  an  altar  cover. 

Pattern:  Kiku  Botan  Karahana  (arabesque  of  chrysanthemums  and  peonies),  with 
sprays  of  plum  blossoms  and  butterflies,  in  four  colors  and  gold  on  a black  ground. 
Date:  (Signed.)  Contributed  to  the  temple  by  the  Maruya  family  in  the  fifth 
year  of  the  Gen-bun  era  (1740). 

Four  feet  five  inches  square. 

25.  FUTAKAMA,  or  large  patterned,  KINRAN.  (Nishi jin  Loom.)  Altar  cover. 

Pattern:  Tessen  Karahana  (arabesque  of  tessen  flower),  in  rich  gold  on  green 
ground. 

Date:  (Signed.)  Contributed  to  the  temple  by  Shoyen  of  the  Yechigoya  family  in 
memory  of  his  mother,  in  the  sixteenth  year  of  the  Kyoho  era  (1731). 

Six  feet  four  inches  square. 

30.  KINRAN  ALTAR  COVER.  (Nishijin  Loom.) 

Kiri  Karahana,  known  as  O-Uchi-giri  pattern,  in  gold  on  a dark  blue  ground. 
Date:  ca.  1750. 

Twenty -four  inches  square. 

42.  NISHIKI  KESA.  (Imperial  Loom.) 

Pattern:  Ken -Ryu  (dragon),  with  Mikado  crests,  in  five  colors  and  gold  on  a pale 
blue  ground. 

Date:  ca.  1700. 

Length,  five  feet  ten  inches;  width,  three  feet  ten  inches. 

45.  NISHIKI  KESA.  (Nishijin  Loom.) 

Pattern:  Un-Ryu  (dragon  and  conventional  clouds),  in  various  colors  and  gold 
on  a dark  blue  ground. 

Date:  ca.  1700. 

Length,  five  feet  eleven  inches;  width,  three  feet  ten  inches. 

44.  NISHIKI  KESA.  (Nishijin  Loom.) 

Pattern:  Sprays  of  peony  and  Ho-wo  bird  (phoenix),  in  seven  colors  and  gold  on 
a red  ground. 

Date:  ca.  1725. 

Length,  six  feet  eight  inches;  width,  three  feet  ten  inches. 

46.  NISHIKI  KESA.  (Nishijin  Loom.) 

Pattern:  Banreki-Ryu  (Wangli  dragons)  and  clouds,  in  seven  colors  and  gold  on 
a dark  blue  ground. 

Date:  ca.  1725. 

Length,  six  feet  ten  inches;  width,  three  feet  nine  inches. 

47.  NISHIKI  KESA.  (Nishijin  Loom.) 

Celebrated  Shoklco  pattern  (emblem  of  long  life) : The  form  of  tortoise  shell  in 
rich  colors  and  gold  on  a dark  blue  ground. 

Date:  ca.  1750. 

A unique  specimen  of  this  period. 

Length,  six  feet  ten  inches;  width,  three  feet  eight  inches. 


40 


48.  NISHIKI  KESA.  (Nishi jin  Loom.) 

Pattern:  Tenjo,  resembling  the  ceiling  of  Ieyasu’s  shrine  at  Nikko,  in  rich  colors 
and  gold  on  a superb  red  ground. 

Date:  ca.  1750. 

A very  fine  specimen. 

Length,  six  feet  seven  inches;  width,  three  feet  nine  inches. 

53.  NISHIKI  ALTAR  COVER.  (Niskijin  Loom.) 

Pattern:  Sprays  of  Kiku  and  Botan  (chrysanthemum  and  peony),  in  various  colors 
and  gold  on  a green  ground. 

Date:  ca.  1725. 

Twenty-six  inches  square. 

54.  NISHIKI  ALTAR  COVER.  (Nishijin  Loom.) 

Pattern:  Dragons  and  clouds,  in  seven  colors  and  gold  on  a red  ground. 

Date:  ca.  1750. 

Twenty-six  inches  square. 

55.  NISHIKI  ALTAR  COVER.  (Nishijin  Loom.) 

Pattern:  Shishi  and  Ho-wo  bird  (phoenix),  in  medallions,  with  conventional 
peonies  and  clouds,  in  various  colors  and  gold  on  a red  ground. 

Date:  ca.  1750. 

Twenty-seven  inches  square. 

62.  NISHIKI  O-HI.  (Nishijin  Loom.) 

vShippo  pattern  (symbol  of  wealth),  in  five  colors  and  gold  on  a red  ground. 

Date:  ca.  1725. 

Length,  five  feet  four  inches;  width,  eleven  inches. 

63.  NISHIKI  ALTAR  COVER.  (Nishijin  Loom.) 

Pattern:  Sprays  of  Kiku  (chrysanthemum)  and  Botan  (peony),  in  seven  colors 
and  gold  on  a red  ground. 

Date:  ca.  1750. 

Forty  inches  square. 

57.  NISHIKI  ALTAR  COVER.  (Nishijin  Loom.) 

Pattern:  Kikko  (form  of  tortoise  shell,  the  emblem  of  long  life),  in  seven  colors 
and  gold  on  a red  ground. 

Date:  (Signed.)  Contributed  to  the  temple  by  Myo-qu,  in  the  eighth  year  of  the 
Horeki  era  (1758). 

Four  feet  five  inches  square. 

67.  KANAJI  NISHIKI  O-HI.  (Nishijin  Loom.) 

Pattern:  Un-kaku  (flying  stork  and  clouds). 

Date:  ca.  1750. 

Length,  four  feet  four  inches;  width,  eleven  inches. 

1 12.  CHOSEN-NISHIKI  KESA.  Korean. 

Pattern : Sprays  of  peony  flowers  in  gorgeous  colors  and  gold  on  a rich  red  ground. 
Date:  ca.  1750. 

Length,  seven  feet;  width,  three  feet  ten  inches. 


41 


1 14.  KINSHA-ORI  KESA.  (Nishijin  Loom.) 

Pattern:  Higaki  (Bamboo  fence),  with  sprays  of  peonies,  in  seven  colors  and  gold 
on  a dark  gray  ground. 

Date:  ca.  1775. 

Length,  six  feet  ten  inches;  width,  three  feet  nine  inches. 

58.  NISHIKI  ALTAR  COVER.  (Nishijin  Loom.) 

Pattern:  Nanban  Karahana  (East  Indian),  in  seven  colors  and  gold  on  a dark 
green  ground. 

Date:  (Signed.)  Contributed  to  the  Temple  in  the  fourth  year  of  the  An-yei  era 
(i775)- 

Thirty-eight  inches  square. 

120.  TSUZURE-NISHIKI  FUKUSA.  See  p.  18. 

Design:  Seiobo  (Goddess  of  beauty  and  long  life),  by  the  famous  artist  Okyo, 
founder  of  the  Shi  jo  school. 

Date:  Kansei  period  (1789-1800). 

Length,  twenty-six  inches;  width,  twenty-four  inches. 

56.  NISHIKI  ALTAR  COVER.  (Nishijin  Loom.) 

Pattern:  Karahana  (arabesque),  in  seven  colors  and  gold  on  a green  ground. 
Date:  (Signed.)  Contributed  to  the  Temple  Nyoi-rinji  of  the  Chita  Province  by 
five  members,  in  the  fifth  year  of  the  Bunka  era  (1808). 

Twenty-seven  inches  square. 

68.  KANAJI-NISHIKI  ALTAR  COVER.  (Nishijin  Loom.) 

Pattern:  Shokko. 

Date:  (Signed.)  Contributed  to  the  Temple  in  the  eighth  year  of  the  Bunka  era 
(1811),  the  most  recent  date  in  this  collection. 

Four  feet  four  inches  square. 


42 


Glossary 


Ayaji  . 

Botan 

Donsu 

Dzuru  (Tsuru) 
Fukusa  . 
Ginran  . 
Hishigata 
Ho-wo 
Kanaji 
Kara  . 
Karahana  . 
Kesa  . 

Kikko 
Kiku  . 

Kinran  . 
Kiri  . 

Kirin 

Ko 

Nanban  . 
Nicho-dzuru 

O-HI  . . . 

Oranda  . 

Ryu  . . . 

Shijira  . 
Shippo 
Shokko  . 

To  . . . 

Tsuzure  . 


Cross  woven  in  which  both  warp  and  woof  are  visible. 

Peony. 

Damask. 

. Vine. 

Covering  for  a gift. 

Silver  brocade. 

Checkered  pattern. 

The  Phoenix. 

. Gold  ground. 

Woven  in  China. 

. Arabesque. 

Priest’s  robe. 

Tortoise-shell  pattern. 

Chrysanthemum. 

Gold  brocade. 

. Paulownia.  The  leaves  of  this  tree  were  used  in  the  family  crest 
of  the  Mikado. 

. A fabulous  homed  monster  always  represented  in  the  midst  of 
flame. 

Old.  Used  to  designate  Chinese  brocades  before  1475. 

East  Indian  influence. 

. Double  vine  pattern. 

. One-strip  Kesa,  Jodo  and  Shinshu  sects. 

Holland,  Dutch. 

Chinese  dragon. 

With  crepe  effect. 

Seven  treasures. 

. Six  square  pattern. 

Chinese  brocades  imported  since  1475. 

Tapestry. 


43 


ANNOUNCEMENT 


AN  ILLUSTRATED  CATALOG  is  now  in  preparation  of  an 
unusual  Collection  of  JAPANESE  COLOR  PRINTS  collected 
by  Mr.  S.  Nomura  in  Kyoto  during  the  past  ten  years. 

This  collection  is  made  up  of  about  one  hundred  early  impressions 
of  the  choicest  and  rarest  prints  of  Haranobu,  Kiyonaga,  Utamaro, 
Koriusai,  Hokusai,  and  a few  first  impressions  of  unusual  subjects  by 
Hiroshige. 

Copies  will  be  sent  to  collectors  upon  application ; to  others, 
upon  receipt  of  price,  fifty  cents,  postpaid. 

Address:  SHOJIRO  NOMURA, 

Room  8 1 1,  50  Congress  Street,  Boston. 


NATHAN  8AWYER  & SON,  INO.,  PRINTERS 
BOSTON 


